We’ve expanded our hours and are open at 11am, Monday through Sunday, to serve up our full menu for lunchtime. To celebrate these new expanded hours we have a number of exciting promotions including special daily food & drink pairings, as well as weekly lunch-time-only specials created by Chef Christopher Cook.

Hailing from Long Island, NY, EPMD’s first album, Strictly Business, appeared in 1988 and featured the underground hit “Strictly Business,” which sampled Eric Clapton’s version of Bob Marley’s “I Shot the Sheriff.” Many critics cite this first album as the group’s most influential. The group’s brand of funk-fueled sample-heavy hip-hop proved to be a major force in the genre. Unlike old school hip hop, which was originally based on disco hits but eventually became more electronic, EPMD based its music mainly on lifting funk and rock breaks for samples and helped to popularize their usage, along with Marley Marl and Public Enemy. “You’re a Customer” combined snippets of Steve Miller’s “Fly Like an Eagle,” Kool & the Gang’s “Jungle Boogie, the bass line from ZZ Top’s “Cheap Sunglasses” and drum beat (Roger Linn LM-2 machine). “Jane,” about a romantic rendezvous gone bad, would be revisited on no less than five sequels; a first for hip-hop, and, perhaps, rock and roll as well. “You Gots to Chill” used 1980s funk band Zapp’s “More Bounce to the Ounce,” which has become one of the most enduring sample sources for hip-hop. EPMD later appeared on the single “Everybody (Get Up)” by Zapp frontman Roger Troutman on his last solo album, Bridging The Gap, in 1991. “I’m Housin'” was covered some 12 years later by Rage Against the Machine. Managed early on by Russell Simmons’ RUSH Management, the group toured with such hip-hop luminaries as Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince.

After getting his start as the brains behind the late 90s/early 2000s hardcore/punk act Horror Show, Domenic Palermo founded NOTHING in 2011 with the release of the demo Poshlost. Following the release of Poshlost, Palermo met Brandon Setta, who would bring lush, rich soundscapes and a fresh approach to Palermo’s vision for NOTHING and to the band’s next two EPs, Suns And Lovers (Big Love, 2011) and Downward Years To Come (A389, 2012). NOTHING then signed to Relapse for their debut 2014 full-length Guilty Of Everything. The album, which was inspired by the events surrounding a prison sentence Palermo served from 2002-2004, found widespread critical acclaim from publications such as Rolling Stone, NPR, Stereogum, Spin, Noisey, and many others. Guilty’s reception also enabled the band to tour Europe and North America extensively, including performances at festivals including Osheaga, Roadburn, Firefly, Budweiser Made In America, and SXSW.

Following a tumultuous series of events that left the band personally and professionally distraught, NOTHING experienced a drastic change in mindset, which is clearly apparent in the band’s new record Tired Of Tomorrow. Tired Of Tomorrow was recorded over the course of a month at Studio 4 with Will Yip (Title Fight, Superheaven, Touche Amore, etc) this past October, and is the band’s most heartfelt work today. Borrowing from personal memoir and external works alike, NOTHING have worked the deepest influences of their youth & maturation into a package that’s ultimately at its most relevant in the present day. Tired Of Tomorrow is a brooding yet mellow release, inspired as much by 90s rock as it is by the darkness of NOTHING’s past.

Digging and spinning genres across the board from Hip Hop, Funk & Soul classics to Disco, Nu Disco and beyond, Skeme keeps things classy and continuously strives to separate himself from the pack. Skeme is known within a large circle of Funk & Soul 45 aficionados, DJs, vinyl purists, record labels and promoters as a heavyweight collector.

James Anthony “Tony” Simon, better known by his stage name Blockhead, is an American hip hop producer based in Manhattan, New York.

Aside from his solo efforts released on the Ninja Tune label, Blockhead is most associated with producing for Aesop Rock, a rapper for the indie hip hop labels Definitive Jux and Rhymesayers. He is also a member of the comedy hip hop group Party Fun Action Committee and has previously worked with rappers Cage, Hangar 18, Open Mike Eagle and Murs. According to him, his stage name comes from the shape of his head: “While it’s not square, it’s pretty close.”

Simon was born and raised in Manhattan. He is the son of the late Sidney Simon, a well-known sculptor in New York City, and Renee Adriance, a social worker. He has one brother and five half siblings. From a young age, he loved hip hop—both the lyrical and musical aspects. In his early teens, he and his friends made a group called the Overground where Simon first started making music. As an aspiring MC, he enrolled in Boston University in 1994. He only remained at Boston University for one year, but in that year Simon’s real music career began when he first met and starting working with Aesop Rock who was also a student at BU. At this point Simon put aside his ambition to be a MC and focused on producing music.

As always, we keep an ever-evolving menu of amazing craft and specialty beers, as wells as inventive, delicious cocktails. We just updated both the beer and cocktails menus for summertime. Come in to quench your thirst, and maybe grab some grub while you’re at it.

Los Angeles native, TOKiMONSTA (Jennifer Lee) is known for her unique take on electronic,hip hop, and dance music. Her classical upbringing and eclectic taste in music has allowed her to create vast textural soundscapes—a reverberation that fuses vintage sensibilities with progressive inclinations. Since 2010, she has released 2 full albums, 2 EPs, 2 vinyl only singles through Ultra Records (US), Sony (Korea), Brainfeeder/Ninja Tune (US/UK), Art Union (Japan), Black Acre (UK), Ramp (UK), and All City (Ireland).

Her music has been recognized by the very best in tastemaker and mainstream media. TOKiMONSTA has been featured on various worldwide radio programs such as: BBC Radio1 (UK), NPR (USA), BBC World Service (UK), J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (LA) to name a few. Subsequently, DJ Mag, Pitchfork, The Guardian, XLR8R, Paper, LA Times, Dazed and Confused, SPIN, Wax Poetics, MTV, VIBE, Billboard, Rolling Stone, Sound and Recording and more have covered her. She has been ranked by LA weekly as LA’s best female DJ (noting her versatility as a producer). Additionally, Resident Adviser featured her for their “Breaking Through” series, which focuses on the next break through artist. Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join Flying Lotus’ crew/label BRAINFEEDER, which is on the forefront of LA music scene.

Recognition of her music has given her the opportunity to tour the world. In a never-ending effort to stay on top of technological and musical advances, she uses cutting edge technology with pieces of musical and multimedia gear. She participated in the prestigious Red Bull Music Academy in London in 2010. In the summer of 2012, she was apart of the Full Flex Express tour, the first electronic music themed train tour that traveled across Canada with Skrillex, Diplo, Pretty Lights, and Grimes. She performed on the very first SS Coachella–Golden Voices’ first ocean cruise festival. Some notable past performances were at Coachella, Sonar Barcelona, DEMF, WMC, Electric Zoo, SXSW, Camp Bisco, Decibel Festival. 2014 will include festival plays at Sonar Barcelona (2nd time), Glastonbury, Roskilde, Sasquatch, with more to be announced.

Dick Dale invented surf music in the 1950’s. Not the ’60’s as is commonly believed. He was given the title “King of the Surf Guitar” by his fellow surfers with whom he surfed with from sun-up to sun-down. He met Leo Fender the guitar and amplifier Guru and Leo asked Dale to play his newly creation, the Fender Stratocaster Electric Guitar. The minute Dale picked up the guitar, Leo Fender broke into uncontrolled laughter and disbelief, he was watching Dale play a right handed guitar upside down and backwards, Dale was playing a right handed guitar left handed and changing the chords in his head then transposing the chords to his hands to create a sound never heard before.

Leo Fender gave the Fender Stratocaster along with a Fender Amp to Dale and told him to beat it to death and tell him what he thought of it. Dale took the guitar and started to beat it to death, and he blew up Leo Fender’s amp and blew out the speaker. Dale proceeded to blow up forty nine amps and speakers; they would actually catch on fire. Leo would say, ‘Dick, why do you have to play so loud?’ Dale would explain that he wanted to create the sound of Gene Krupa the famous jazz drummer that created the sounds of the native dancers in the jungles along with the roar of mother nature’s creature’s and the roar of the ocean.

Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of Four Thousand screaming dancing Dick Dale fans and said to Freddy, I now know what Dick Dale is trying to tell me. Back to the drawing board. A special 85 watt output transformer was made that peaked 100 watts when dale would pump up the volume of his amp, this transformer would create the sounds along with Dale’s style of playing, the kind of sounds that Dale dreamed of. BUT! they now needed a speaker that would handle the power and not burn up from the volume that would come from Dale’s guitar.

Leo, Freddy and Dale went to the James B. Lansing speaker company, and they explained that they wanted a fifteen inch speaker built to their specifications. That speaker would soon be known as the 15” JBL -D130 speaker. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and speaker cabinet, Dale became the first creature on earth to jump from the volume scale of a modest quiet guitar player on a scale of 4 to blasting up through the volume scale to TEN! That is when Dale became the “Father of Heavy Metal” as quoted from Guitar Player Magazine. Dale broke through the electronic barrier limitations of that era!

Dale still wanted to go further, and as the crowds increased, Dale’s volume increased, but he still wanted a bigger punch with thickness in the sound so that it would pulsate into the audience and leave them breathless. The JBL-D130 was doing its job until Dale froze it in the frame that held the speaker, the speaker cone would twist from the heavy playing from Dale and it would soon twist and stop to fluctuate back n forth.

Leo, Freddy and Dale went back to the JBL speaker company and told them to rubberize the front ridge of the speaker allowing it to push forward and backward from the signal of Dale’s guitar without cocking and twisting. The new updated version was called the JBL D-130F; the F stood for Fender.

Leo, Freddy and Dale designed a speaker cabinet and in which they installed 2 -15”-JBL-D130F’s. This caused Leo Fender to have to create a new and more powerful output transformer, they would call it the Dick Dale Transformer and it was made by the Triad Company.

This became the 100 watt output transformer that would actually peak 180 watts. Nothing like this had ever been done before in the world of guitars and amplifiers. This became known as the Dual-Showman Piggy Back Amp. This is why Dick Dale is called the Father of all the power Players in the world!